Sunga Empire
---------------------
The Sunga rule, extending a little over a century, is in interlude in the history of India. There is nothing extraordinary about the political events associated with the Sungas. The significance of their history, on the other hand, primarily consists in the place they occupy in the social and cultural history of India.

The founder of the dynasty, Pushyamitra Sunga, overthrew the Mauryas; either in 187 B.C. or 184 B.C. After him there were nine other rulers. Among them, Agnimitra, Vasumitra, Bhagvata and Devabhumi were the prominent ones. The names of the first two were associated with some events in political history, whereas the latter two were known for their long rule, they being 32 and 10 years respectively.

There is some controversy about the identity of Pushyamitra Sunga. It was stated in a Sutra that he belonged to a family of teachers. Patanjali claims that he was a brahminor the Bhardwaja gotra. Ivyavadana stated that the Sungas were related to the Mauryas. A Malavikagnimitram refers to them as brahmins belonging to Kashyap gotra.

After the overthrow of Brihadrata, Pushyamitra Sunga waged a few wars to consolidate his position. Evidence shows that Pushyamitra Sunga defeated the Yavanas. This is confirmed by Patanjali's Mahabashva. And the claim made in the Hathigumpha inscription that Kharavela of Kalinga defeated Pushyamitra Sunga cannot be sustained because Kharavela ruled in the second half of the first century B.C. Later, Vasumitra, the grandson of Pushyamitra Sunga, defeated the Yavanas. This is confirmed by the Malavikaganimtiram and gargi Samhita. Both Agnimmitra and Veerasena fought against Vidarbha rule of the Sungas ended C. 75 B.C.

Some scholars regard that the establishment of Sunga dynasty ws symbolic of the brahminical reaction to the Mauryan bias towards Buddhism. Pushyamitra Sunga performed the vedic sacrifices of asvamedha, and the others like aginstoma, Rajasuya and vajpeiya. But some facts of his region clearly show that he did not persecute Buddhists. The claim of Divyavandana, that Pushyamitra Sunga destroyed 84,000 Buddhist stupas and slaughtered srameans, has no corroborative evidence. Interestingly, the sculptured stone gateway and the massive stone railing aroused Sanchi stupa were executed during the time of Pushyamitra Sunga. Also the Bharhut stupa and the sculpture relating to Jataka stories around it came into existence during the same period. One of the donors of Bharhut stupa was Champadevi wife of the Idisha King, who was a worshipper of Vishnu. This fact bears testimony to the high degree of tolerance prevailing during the period. (And some minor works of Sunga art are to be found at Mathura, Kausambi and Sarnath).

It at all there was anyting like persecution of Buddhists during the days of Pushyamitra Sunga, it could be in the context of Menander's invasion. May be, the Buddhists of India welcomed the invasion of Menander' and this might have resulted in Pushyamitra Sunga wrath falling on the Buddhists. Or, may be withdrawal of royal patronage with the coming of the Sungas apparently enraged the Buddhists and thus the Buddhists writers present an exaggerated account of their troubles.

The importance of the Sungas, therefore, was primarily in the context of cultural and social development. In the social field, the emergence of Hinduism had a wide impact. The Sungas attempted to revive the caste system with the social supremacy of the brahmins. This is more than evident in the work of Manu (Manusmriti) wherein he reassures the position of the brahmins in the fourfold society. Even then, the most significant development of the Sunga era was marked by various adjustment and adaptations leading to the emergence of mixed castes and the assimilation of the foreigners in India society. Thus we notice that Brahminism gradually transformed itself in a direction towards Hinduism.

In the field of literature Sanskrit gradually gained ascendancy and became the language of the court. Patanjali was patronized by Pushyamitra Sunga and he was the second great grammarian of Sanskrit. Patanjali refers to a Sanskrit poet, Varauchi, who wrote in the Kavya style and which was later perfected by Kalidasa. Some Buddhist works of this age were written in Sanskrit.

In the field of art, there was immediate reaction against the Buddhist era of the Mauryas. Nevertheless, there were certain differences. The Sunga art reflects more of the mind, culture, tradition and ideology than what the Mauryan art did. During the Sunga period, stone replaced wood in the railings and the gateways of the Buddhist stupas as noticed at Bharhut and Sanchi. Bharhut stupa is replete with sculptures - apart from floral designs, animal, figures, Yakshas and human figures. Even the stone railing around the Sanchi Stupa is in rich belief work. This age definitely witnessed the increasing use of symbols and human figures in architecture. Besides, the Sungas art is a manifestation of popular artistic genious - the artistic activity was because of the initiative of individuals, corporation or villages. A part of the gateway of Sanchi was constructed by the artisans of Vidisha. Even temple building began in this period. A Vishnu temple was build near Vidisha. There was an increase in the construction of rock-cut temple as noticed in the Chaitya Hall. In the temples and household worship we find the idols of Shiva and Vishnu.

All told the importance of the sunga dynasty lies in the restoration of Real politik while abandoning the asokan approach. In the cultural field the beginnings as well as accomplishments in sculpture and architecture are of tremendous significance. In the field of religion too they not only revived the earlier tradition but also gave an impetus to new approaches combative towards the heterodox sects the cult of katakana the god of war the resurgence of Bhagvata cult and the supremacy of Vasudeva in the Hindu pantheon.

Tags:   ancient antiquity archaeology art asia bymukulbanerjee classical civilization conservation d300 dslr heritagesite359 heritagesite hindu hindusthan historical historicalindia historicindia history idol iconography images india indian indianheritage mukulbanerjeephotography mythology nationalmuseum nationalmuseumdelhi newdelhi nikkor nikon old photographs photography ruins sculpture stone temple temples tourism traditional tourist worldheritage wwwmukulbanerjeecom ©mukulbanerjee ©mukulbanerjeephotography Sunga Taxila Gandhara Figurine

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Sunga Empire
---------------------
The Sunga rule, extending a little over a century, is in interlude in the history of India. There is nothing extraordinary about the political events associated with the Sungas. The significance of their history, on the other hand, primarily consists in the place they occupy in the social and cultural history of India.

The founder of the dynasty, Pushyamitra Sunga, overthrew the Mauryas; either in 187 B.C. or 184 B.C. After him there were nine other rulers. Among them, Agnimitra, Vasumitra, Bhagvata and Devabhumi were the prominent ones. The names of the first two were associated with some events in political history, whereas the latter two were known for their long rule, they being 32 and 10 years respectively.

There is some controversy about the identity of Pushyamitra Sunga. It was stated in a Sutra that he belonged to a family of teachers. Patanjali claims that he was a brahminor the Bhardwaja gotra. Ivyavadana stated that the Sungas were related to the Mauryas. A Malavikagnimitram refers to them as brahmins belonging to Kashyap gotra.

After the overthrow of Brihadrata, Pushyamitra Sunga waged a few wars to consolidate his position. Evidence shows that Pushyamitra Sunga defeated the Yavanas. This is confirmed by Patanjali's Mahabashva. And the claim made in the Hathigumpha inscription that Kharavela of Kalinga defeated Pushyamitra Sunga cannot be sustained because Kharavela ruled in the second half of the first century B.C. Later, Vasumitra, the grandson of Pushyamitra Sunga, defeated the Yavanas. This is confirmed by the Malavikaganimtiram and gargi Samhita. Both Agnimmitra and Veerasena fought against Vidarbha rule of the Sungas ended C. 75 B.C.

Some scholars regard that the establishment of Sunga dynasty ws symbolic of the brahminical reaction to the Mauryan bias towards Buddhism. Pushyamitra Sunga performed the vedic sacrifices of asvamedha, and the others like aginstoma, Rajasuya and vajpeiya. But some facts of his region clearly show that he did not persecute Buddhists. The claim of Divyavandana, that Pushyamitra Sunga destroyed 84,000 Buddhist stupas and slaughtered srameans, has no corroborative evidence. Interestingly, the sculptured stone gateway and the massive stone railing aroused Sanchi stupa were executed during the time of Pushyamitra Sunga. Also the Bharhut stupa and the sculpture relating to Jataka stories around it came into existence during the same period. One of the donors of Bharhut stupa was Champadevi wife of the Idisha King, who was a worshipper of Vishnu. This fact bears testimony to the high degree of tolerance prevailing during the period. (And some minor works of Sunga art are to be found at Mathura, Kausambi and Sarnath).

It at all there was anyting like persecution of Buddhists during the days of Pushyamitra Sunga, it could be in the context of Menander's invasion. May be, the Buddhists of India welcomed the invasion of Menander' and this might have resulted in Pushyamitra Sunga wrath falling on the Buddhists. Or, may be withdrawal of royal patronage with the coming of the Sungas apparently enraged the Buddhists and thus the Buddhists writers present an exaggerated account of their troubles.

The importance of the Sungas, therefore, was primarily in the context of cultural and social development. In the social field, the emergence of Hinduism had a wide impact. The Sungas attempted to revive the caste system with the social supremacy of the brahmins. This is more than evident in the work of Manu (Manusmriti) wherein he reassures the position of the brahmins in the fourfold society. Even then, the most significant development of the Sunga era was marked by various adjustment and adaptations leading to the emergence of mixed castes and the assimilation of the foreigners in India society. Thus we notice that Brahminism gradually transformed itself in a direction towards Hinduism.

In the field of literature Sanskrit gradually gained ascendancy and became the language of the court. Patanjali was patronized by Pushyamitra Sunga and he was the second great grammarian of Sanskrit. Patanjali refers to a Sanskrit poet, Varauchi, who wrote in the Kavya style and which was later perfected by Kalidasa. Some Buddhist works of this age were written in Sanskrit.

In the field of art, there was immediate reaction against the Buddhist era of the Mauryas. Nevertheless, there were certain differences. The Sunga art reflects more of the mind, culture, tradition and ideology than what the Mauryan art did. During the Sunga period, stone replaced wood in the railings and the gateways of the Buddhist stupas as noticed at Bharhut and Sanchi. Bharhut stupa is replete with sculptures - apart from floral designs, animal, figures, Yakshas and human figures. Even the stone railing around the Sanchi Stupa is in rich belief work. This age definitely witnessed the increasing use of symbols and human figures in architecture. Besides, the Sungas art is a manifestation of popular artistic genious - the artistic activity was because of the initiative of individuals, corporation or villages. A part of the gateway of Sanchi was constructed by the artisans of Vidisha. Even temple building began in this period. A Vishnu temple was build near Vidisha. There was an increase in the construction of rock-cut temple as noticed in the Chaitya Hall. In the temples and household worship we find the idols of Shiva and Vishnu.

All told the importance of the sunga dynasty lies in the restoration of Real politik while abandoning the asokan approach. In the cultural field the beginnings as well as accomplishments in sculpture and architecture are of tremendous significance. In the field of religion too they not only revived the earlier tradition but also gave an impetus to new approaches combative towards the heterodox sects the cult of katakana the god of war the resurgence of Bhagvata cult and the supremacy of Vasudeva in the Hindu pantheon.

Tags:   ancient antiquity archaeology art asia bymukulbanerjee classical civilization conservation d300 dslr heritagesite359 heritagesite hindu hindusthan historical historicalindia historicindia history idol iconography images india indian indianheritage mukulbanerjeephotography mythology nationalmuseum nationalmuseumdelhi newdelhi nikkor nikon old photographs photography ruins sculpture stone temple temples tourism traditional tourist worldheritage wwwmukulbanerjeecom ©mukulbanerjee ©mukulbanerjeephotography Taxila Gandhara Sunga

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Art under the Maurya dynasty is a treasure house which comprises the remains of the royal palace and city of Pataliputra, the stupas at Sanchi, Sarnath and Amaravati, pillars of Ashoka, potteries, coins and paintings. The Maurya Empire from fourth to second century B.C. is an important period in the history of Indian art.

The Maurya Empire was founded by Chandragupta Maurya and it reached its greatest moment of political, religious, and artistic development in the middle years of the third century B.C. The prologue to the foundation of the Maurya Dynasty was the invasion of India by Alexander the Great. The background of Maurya power, together with Ashoka's substitution of a kind of religious imperialism is important in considering the art of his period. The Maurya Empire indicates a significant transition in Indian art from use of wood to stone.

The ruins of the fabulous city of Pataliputra near modern Patna, is extremely important for an understanding of the whole character of Maurya civilisation which Ashoka inherited and perpetuated. Following not only Indian but ancient near eastern instance, the palace walls, the splendid towers and pavilions, were all constructed of brick or baked clay that has long since crumbled to dust or been swept away by periodic deluge of the swollen waters of the Ganga. Beyond the evidence of the authentic excavations at Pataliputra, an idea of the appearance of the city in the elevations of towns that form the backgrounds for Buddhist subjects in the reliefs of the early Andhra Period at Sanchi can be perceived. . The excavations of Pataliputra revealed that there is a presence of moat which is surrounded by a palisade or railing of the type developed in the Vedic period to the uses of urban fortification. It is assumed that all the super structures were built of wood.

The remains exposed in the actual palace area like a great audience hall was preceded by a number of huge platforms built of solid wood in log-cabin fashion. They formed a kind of artificial eminence, like the palace platforms of ancient Mesopotamia and Iran. Undoubtedly, these wooden structures were projected as foundations for the support of some kind of pavilions in front of the palace itself. In addition to a ground plan of the palace area, a single illustration of the remains of Pataliputra is reproduced to demonstrate the extraordinary craftsmanship and durability of the city’s belt of fortifications. Pataliputra with towers and gateways rivaling the ancient capitals of Iran does give some slight suggestion, by its vast extent and the enormous strength of construction, of the great city of the Maurya Empire.

Buddhism flourished during the reign of Ashoka whose tolerance and generosity to religious sects were not limited to his patronage of Buddhism but is illustrated by his donation of cells for the habitation of holy men of the heretical Ajivika sect in the Barabar Hills near Gaya. The hermitage at Lomas Rishi cave is noted for its architectural magnificence. The carving of the facade of this sanctuary is completely Indian. It is an imitation in relief sculpture in stone of the entrance of a freestanding structure in wood and thatch, of repeated crescent shapes under an ogee arch that most probably represents the contour of the thatched roof. The principal decoration of the so-called "chaitya window" of the over door is a parade of elephants approaching a Stupa. The naturalistic depiction of the expression and gait of these elephants seems almost like a continuation of the style of the Indus Valley seals. The complete elevation of this small facade is repeated over and over again in the chaitya-halls of the Sunga and later periods, and is particularly significant in its showing that the forms of later Buddhist architecture were already completely evolved in the Maurya Period.

The proper picture of Maurya period is revealed in its sculpture. The existing monuments divulge the same imperialist and dictatorial character as Ashoka's rule in its essential structure; like so much of Maurya culture, they are foreign in style, quite apart from the main stream and tradition of Indian art, and display the same intimacy of relationship and imitation of the cultures of the Hellenistic Western powers and of Iran as the language of Ashoka's inscriptions and the Maurya court's philhellenic leanings. Side by side with this official imperial art, there existed a folk art, much more truly Indian in style and tradition and, in the final analysis, of far greater import for the future development of Indian art. Another fabulous sculpture is the Sarnath Pillar, which has four lions back to back at the top of the pillar. The extraordinary precision and beauty associated with these sculptures is a fine instance of the proficiency that the artisans of that period possessed.

It has often been pointed out that one of the tangible results of Alexander's invasion of India and the continuation of Indian contacts with the Hellenic and Iranian West in the Maurya Period was the introduction of the method of stone-carving and the first use of this permanent material in place of the wood, ivory, and metal that were used during the Vedic Period. The great Stupa at Sanchi is a stone monument erected as a part of Ashoka's imperialist agenda of spreading Buddhism throughout his empire.

Art in Maurya period is noted for its refinement in potteries which consisted of many types of wares. But the northern black polished ware is distinguished for its developed method and is the trademark of Maurya pottery. The coins are also an imperative part of Maurya art and were mainly made of silver and copper. The coins varied in shapes, size and weight and the common symbols that were used was that of tree, mountain and elephant.

After the Indus culture, the most primitive existing architectural heritage in India is that of the Mauryas. The sculptures and architecture during this period is regarded as the finest example in Indian art. The rock cut caves, stupas and palaces makes the art of Maurya period as a landmark in the history of Indian art.

Tags:   ancient antiquity archaeology art asia bymukulbanerjee classical civilization conservation d300 dslr heritagesite359 heritagesite hindu hindusthan historical historicalindia historicindia history idol iconography images india indian indianheritage mukulbanerjeephotography mythology nationalmuseum nationalmuseumdelhi newdelhi nikkor nikon old photographs photography ruins sculpture stone temple temples tourism traditional tourist worldheritage wwwmukulbanerjeecom ©mukulbanerjee ©mukulbanerjeephotography Maurya

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Art under the Maurya dynasty is a treasure house which comprises the remains of the royal palace and city of Pataliputra, the stupas at Sanchi, Sarnath and Amaravati, pillars of Ashoka, potteries, coins and paintings. The Maurya Empire from fourth to second century B.C. is an important period in the history of Indian art.

The Maurya Empire was founded by Chandragupta Maurya and it reached its greatest moment of political, religious, and artistic development in the middle years of the third century B.C. The prologue to the foundation of the Maurya Dynasty was the invasion of India by Alexander the Great. The background of Maurya power, together with Ashoka's substitution of a kind of religious imperialism is important in considering the art of his period. The Maurya Empire indicates a significant transition in Indian art from use of wood to stone.

The ruins of the fabulous city of Pataliputra near modern Patna, is extremely important for an understanding of the whole character of Maurya civilisation which Ashoka inherited and perpetuated. Following not only Indian but ancient near eastern instance, the palace walls, the splendid towers and pavilions, were all constructed of brick or baked clay that has long since crumbled to dust or been swept away by periodic deluge of the swollen waters of the Ganga. Beyond the evidence of the authentic excavations at Pataliputra, an idea of the appearance of the city in the elevations of towns that form the backgrounds for Buddhist subjects in the reliefs of the early Andhra Period at Sanchi can be perceived. . The excavations of Pataliputra revealed that there is a presence of moat which is surrounded by a palisade or railing of the type developed in the Vedic period to the uses of urban fortification. It is assumed that all the super structures were built of wood.

The remains exposed in the actual palace area like a great audience hall was preceded by a number of huge platforms built of solid wood in log-cabin fashion. They formed a kind of artificial eminence, like the palace platforms of ancient Mesopotamia and Iran. Undoubtedly, these wooden structures were projected as foundations for the support of some kind of pavilions in front of the palace itself. In addition to a ground plan of the palace area, a single illustration of the remains of Pataliputra is reproduced to demonstrate the extraordinary craftsmanship and durability of the city’s belt of fortifications. Pataliputra with towers and gateways rivaling the ancient capitals of Iran does give some slight suggestion, by its vast extent and the enormous strength of construction, of the great city of the Maurya Empire.

Buddhism flourished during the reign of Ashoka whose tolerance and generosity to religious sects were not limited to his patronage of Buddhism but is illustrated by his donation of cells for the habitation of holy men of the heretical Ajivika sect in the Barabar Hills near Gaya. The hermitage at Lomas Rishi cave is noted for its architectural magnificence. The carving of the facade of this sanctuary is completely Indian. It is an imitation in relief sculpture in stone of the entrance of a freestanding structure in wood and thatch, of repeated crescent shapes under an ogee arch that most probably represents the contour of the thatched roof. The principal decoration of the so-called "chaitya window" of the over door is a parade of elephants approaching a Stupa. The naturalistic depiction of the expression and gait of these elephants seems almost like a continuation of the style of the Indus Valley seals. The complete elevation of this small facade is repeated over and over again in the chaitya-halls of the Sunga and later periods, and is particularly significant in its showing that the forms of later Buddhist architecture were already completely evolved in the Maurya Period.

The proper picture of Maurya period is revealed in its sculpture. The existing monuments divulge the same imperialist and dictatorial character as Ashoka's rule in its essential structure; like so much of Maurya culture, they are foreign in style, quite apart from the main stream and tradition of Indian art, and display the same intimacy of relationship and imitation of the cultures of the Hellenistic Western powers and of Iran as the language of Ashoka's inscriptions and the Maurya court's philhellenic leanings. Side by side with this official imperial art, there existed a folk art, much more truly Indian in style and tradition and, in the final analysis, of far greater import for the future development of Indian art. Another fabulous sculpture is the Sarnath Pillar, which has four lions back to back at the top of the pillar. The extraordinary precision and beauty associated with these sculptures is a fine instance of the proficiency that the artisans of that period possessed.

It has often been pointed out that one of the tangible results of Alexander's invasion of India and the continuation of Indian contacts with the Hellenic and Iranian West in the Maurya Period was the introduction of the method of stone-carving and the first use of this permanent material in place of the wood, ivory, and metal that were used during the Vedic Period. The great Stupa at Sanchi is a stone monument erected as a part of Ashoka's imperialist agenda of spreading Buddhism throughout his empire.

Art in Maurya period is noted for its refinement in potteries which consisted of many types of wares. But the northern black polished ware is distinguished for its developed method and is the trademark of Maurya pottery. The coins are also an imperative part of Maurya art and were mainly made of silver and copper. The coins varied in shapes, size and weight and the common symbols that were used was that of tree, mountain and elephant.

After the Indus culture, the most primitive existing architectural heritage in India is that of the Mauryas. The sculptures and architecture during this period is regarded as the finest example in Indian art. The rock cut caves, stupas and palaces makes the art of Maurya period as a landmark in the history of Indian art.

Tags:   ancient antiquity archaeology art asia bymukulbanerjee classical civilization conservation d300 dslr heritagesite359 heritagesite hindu hindusthan historical historicalindia historicindia history idol iconography images india indian indianheritage mukulbanerjeephotography mythology nationalmuseum nationalmuseumdelhi newdelhi nikkor nikon old photographs photography ruins sculpture stone temple temples tourism traditional tourist worldheritage wwwmukulbanerjeecom ©mukulbanerjee ©mukulbanerjeephotography

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Kubera:
-----------
Kubera (Sanskrit: कुबेर, Pali/later Sanskrit: Kuvera, Tamil/Thai: Kuperan), also spelt Kuber, is the Lord of wealth and the god-king of the semi-divine Yakshas in Hindu mythology. He is regarded as the regent of the North (Dik-pala), and a protector of the world (Lokapala). His many epithets extol him as the overlord of numerous semi-divine species and the owner of the treasures of the world. Kubera is often depicted as a fat man, adorned with jewels and carrying a money-pot or money-bag, and a club.
Originally described as the chief of evil spirits in Vedic-era texts, Kubera acquired the status of a Deva (god) only in the Puranas and the Hindu epics. The scriptures describe that Kubera once ruled Lanka, but was overthrown by his demon step-brother Ravana, later settling in Alaka, in the Himalayas. Descriptions of the "glory" and "splendours" of Kubera's city are found in many scriptures.
Kubera has also been assimilated into the Buddhist and Jain pantheons. In Buddhism, he is known as Vaisravana, the patronymic used of the Hindu Kubera and is also equated with Pañcika, while in Jainism, he is known as Sarvanubhuti.

en.wikipedia.org/wiki/Kubera


Sunga Empire
---------------------
The Sunga rule, extending a little over a century, is in interlude in the history of India. There is nothing extraordinary about the political events associated with the Sungas. The significance of their history, on the other hand, primarily consists in the place they occupy in the social and cultural history of India.

The founder of the dynasty, Pushyamitra Sunga, overthrew the Mauryas; either in 187 B.C. or 184 B.C. After him there were nine other rulers. Among them, Agnimitra, Vasumitra, Bhagvata and Devabhumi were the prominent ones. The names of the first two were associated with some events in political history, whereas the latter two were known for their long rule, they being 32 and 10 years respectively.

There is some controversy about the identity of Pushyamitra Sunga. It was stated in a Sutra that he belonged to a family of teachers. Patanjali claims that he was a brahminor the Bhardwaja gotra. Ivyavadana stated that the Sungas were related to the Mauryas. A Malavikagnimitram refers to them as brahmins belonging to Kashyap gotra.

After the overthrow of Brihadrata, Pushyamitra Sunga waged a few wars to consolidate his position. Evidence shows that Pushyamitra Sunga defeated the Yavanas. This is confirmed by Patanjali's Mahabashva. And the claim made in the Hathigumpha inscription that Kharavela of Kalinga defeated Pushyamitra Sunga cannot be sustained because Kharavela ruled in the second half of the first century B.C. Later, Vasumitra, the grandson of Pushyamitra Sunga, defeated the Yavanas. This is confirmed by the Malavikaganimtiram and gargi Samhita. Both Agnimmitra and Veerasena fought against Vidarbha rule of the Sungas ended C. 75 B.C.

Some scholars regard that the establishment of Sunga dynasty ws symbolic of the brahminical reaction to the Mauryan bias towards Buddhism. Pushyamitra Sunga performed the vedic sacrifices of asvamedha, and the others like aginstoma, Rajasuya and vajpeiya. But some facts of his region clearly show that he did not persecute Buddhists. The claim of Divyavandana, that Pushyamitra Sunga destroyed 84,000 Buddhist stupas and slaughtered srameans, has no corroborative evidence. Interestingly, the sculptured stone gateway and the massive stone railing aroused Sanchi stupa were executed during the time of Pushyamitra Sunga. Also the Bharhut stupa and the sculpture relating to Jataka stories around it came into existence during the same period. One of the donors of Bharhut stupa was Champadevi wife of the Idisha King, who was a worshipper of Vishnu. This fact bears testimony to the high degree of tolerance prevailing during the period. (And some minor works of Sunga art are to be found at Mathura, Kausambi and Sarnath).

It at all there was anyting like persecution of Buddhists during the days of Pushyamitra Sunga, it could be in the context of Menander's invasion. May be, the Buddhists of India welcomed the invasion of Menander' and this might have resulted in Pushyamitra Sunga wrath falling on the Buddhists. Or, may be withdrawal of royal patronage with the coming of the Sungas apparently enraged the Buddhists and thus the Buddhists writers present an exaggerated account of their troubles.

The importance of the Sungas, therefore, was primarily in the context of cultural and social development. In the social field, the emergence of Hinduism had a wide impact. The Sungas attempted to revive the caste system with the social supremacy of the brahmins. This is more than evident in the work of Manu (Manusmriti) wherein he reassures the position of the brahmins in the fourfold society. Even then, the most significant development of the Sunga era was marked by various adjustment and adaptations leading to the emergence of mixed castes and the assimilation of the foreigners in India society. Thus we notice that Brahminism gradually transformed itself in a direction towards Hinduism.

In the field of literature Sanskrit gradually gained ascendancy and became the language of the court. Patanjali was patronized by Pushyamitra Sunga and he was the second great grammarian of Sanskrit. Patanjali refers to a Sanskrit poet, Varauchi, who wrote in the Kavya style and which was later perfected by Kalidasa. Some Buddhist works of this age were written in Sanskrit.

In the field of art, there was immediate reaction against the Buddhist era of the Mauryas. Nevertheless, there were certain differences. The Sunga art reflects more of the mind, culture, tradition and ideology than what the Mauryan art did. During the Sunga period, stone replaced wood in the railings and the gateways of the Buddhist stupas as noticed at Bharhut and Sanchi. Bharhut stupa is replete with sculptures - apart from floral designs, animal, figures, Yakshas and human figures. Even the stone railing around the Sanchi Stupa is in rich belief work. This age definitely witnessed the increasing use of symbols and human figures in architecture. Besides, the Sungas art is a manifestation of popular artistic genious - the artistic activity was because of the initiative of individuals, corporation or villages. A part of the gateway of Sanchi was constructed by the artisans of Vidisha. Even temple building began in this period. A Vishnu temple was build near Vidisha. There was an increase in the construction of rock-cut temple as noticed in the Chaitya Hall. In the temples and household worship we find the idols of Shiva and Vishnu.

All told the importance of the sunga dynasty lies in the restoration of Real politik while abandoning the asokan approach. In the cultural field the beginnings as well as accomplishments in sculpture and architecture are of tremendous significance. In the field of religion too they not only revived the earlier tradition but also gave an impetus to new approaches combative towards the heterodox sects the cult of katakana the god of war the resurgence of Bhagvata cult and the supremacy of Vasudeva in the Hindu pantheon.

Tags:   ancient antiquity archaeology art asia bymukulbanerjee classical civilization conservation d300 dslr heritagesite359 heritagesite hindu hindusthan historical historicalindia historicindia history idol iconography images india indian indianheritage mukulbanerjeephotography mythology nationalmuseum nationalmuseumdelhi newdelhi nikkor nikon old photographs photography ruins sculpture stone temple temples tourism traditional tourist worldheritage wwwmukulbanerjeecom ©mukulbanerjee ©mukulbanerjeephotography

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